Frederick Arthur Bridgman

Acquired by the great-uncle of the present owner, a friend of the artist; thence by descent

Original canvas. Under UV light, there are some tiny repaints along the extreme edges addressing frame rubbing and one small spot to the right of the woman with the orange dress, near her feet. There is some scattered craquelure, notably in the sky and in the lower right. The painting is overall in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Two colourfully-dressed girls meet a washerwoman on the banks of a wadi on the outskirts of a North African town. It is a serene and intimate moment of feminine grace. Bridgman's subjects, while infused with the light and colour of the Orient, were nevertheless founded on his academic training in the studio of Jean-Léon Gérôme. The finely modelled figures display the influences of his master's teaching, worked up from sketches made on the spot.

Bridgman's cumulative experiences in Algeria and his prolific output led him in 1888 to publish a long and well-illustrated account of his stay in Algiers in Harper's Monthly Magazine; the success of the several articles led to the contract for a book, Winters in Algiers, illustrated with woodcuts after the artist's drawings and paintings.